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Yaadhum Oorae (11th October, 2017)

About the Committee Silambam Yaadhum Oorae Inception South Zone Culturals Special Performance Marudham

“Yaadhum Oorae”,the ethnic celebration of our Universitywas inspired from the Sangam literaturePuranaanooruwritten by Kaniyan Poongundranaar, an excerpt from the poem “Yaadhum Oorae Yaavarum Kaeleer”whichmeans“listen up everybody I’m a citizen of this universe”. The same statement has been inscribed in the walls of the United Nations Organisations’ Head Quarters.
“A fruit fly does not have to go to school to fly and does not have to learn how to fly. It knows how to fly from the get go. Fish are born expecting water, they got fins, they got gills, they are expecting water. We, the humans are expecting culture, we are obligate learners. It’s not a choice, it’s about communicating and collaborating with each other. Our Ethnic day is culture, the story of human evolution itself. We welcome you all to be a part of interplay between nature and nurture, the process that really carves out the human mind.”
- Excerpt from the Welcome address by the Faculty in-charge
Mr. Balachandran Sathyan.
TNNLS has a diverse set of students and staff from various parts of the country. The unity in diversityexpands compassionate hearts to embrace other cultures and rejoice together. To joyfully celebrate and cherish our unity, cultural committee came up with 1st edition of “YAADHUM OORAE”, the ethnic celebration of 2017.YaadhumOorae brought colors to campus amidst the busy schedule of a NationalLaw University.The pride one gets when his/her culture is represented is always a special feeling. The committee worked a lot to make each and everyone experience this special feeling throughout the day. The day started with batch events which was the most awaited event of the day, as it showcased the talent of every single batch and its teamwork in putting up a good show. The final year’s performance was very emotional as this was their last ethnic celebration. Next up it was, the most unique event of the night, “KAVINGNANIN KALAM”, in which the students recited in their native tongue, the translated version of a famous poem titled “I WANT TO BE A PILOT” written by “Diego Quemada- Diez” in 9 languages which includes Tamil, Malayalam, Telugu, Kannada, Bengali, Marathi, Odiya, Hindi and Marwari.After which, the committee hosted the flagship event for the day, the “THOZHPAAVAI KOOTHU”(Shadow puppet play) which portrayed “NALLATHANGAAL KATHAI”, a folk story highlighting the issue of poverty in a humorous way. The day ended with our students enjoying to the beats of “CHENDAI MELAM” for nearly one and half hours. The heartwarming event ended in a high note performance ofchendaimelam.


 
   
   


KAVINGANIN KALAM
This was one of the flagship event of the day, in which the students recited the famous poem named “I WANT TO BE A PILOT” written by “Diego Quemada- Diez” based on the testimonies from 50 orphan kids from Raila Educational Centre, Kibera, Kenya, in their native tongue. The poem was translated in Malayalam by Romeo M. Raj and others, and recited by Romeo M. Raj, translated and recited in Hindi by Aditi, in Kanada by Vinudeep, in Marwari by Karan Vyas, in Bengali by Usnish Ray, in Telugu by Yalavarthi S.S.S.L.V Prasad, in Tamil by Mr. Balachandran Sathyan, translated in Marathi by Dr. Sai Thakur and recited by Samhitha, translated in Odiya by Byasa Moharana and recited by Mr. Shankar Karmukilan and Ms. Nikitha Pattajoshi.


   

THOLPAAVAIKOOTHU
Tholpaavai koothu, literally meaning ‘leather puppet play’ is the refined version of panaipaavai koothu of Tamil Nadu, where palm leaves were used to make puppets. During the Marathas reign in Tamil Nadu,Tholpaavaikoothu artists were taken from Tanjore to Kerala to do the court and temple performances. After the iron hold of British rule in the Indian Subcontinent, the patronization of Thoolpaavaikoothu drastically started to deteriorate. When kings and queens of India became into caged tigers the support came from the pennies of masses specifically during the time of their celebrations and temple festivals. Tholpaavai koothu is also known as Nizhalaattam. Tholpaavai koothu puppets are made up of the skin taken from sheep and goat. The figures are drawn on the skin, cut out and embellished with dots, lines and holes. In Tamil Nadu, Nizhalaattam is used to narrate the folk tales like Kannagi Kathai, Nallathangaal kathai, Harichandran Kathai and classics like Kamba Ramayanam and Mahabharatham. The art of Tholpaavaikoothu is transcending the boundaries of religion with the performance of Gnyana Soundari Kathai which is a narrative about the assimilation of the religion of Christianity in Tamil Nadu and Kerala. Nowadays Tholpaavaikoothu is used to stage the plays of Shakespeare and other modern poets. The art form plays a pivotal role in spreading legal awareness about the various programs and schemes of the state, such as HIV programme, Education for all, Save Environment, and Clean India. After the introduction of cinema theatres and televisions the cinema artists have shifted the entertainment pockets of the masses from Tholpaavai koothu to cinema. Now, the attempt of the state to use such traditional art forms to promote various government schemes and initiatives is sluggishly reviving the sustenance of such Artists.


   
 

CHENDAI MELAM
Chendai is one of the ancient tribal musical instruments in the world. In earlier days,Chendai was used by the messengers of the kings to announce important information and to declare war. Traditionally, it was called as ‘Asura Vaadyam’ depicting the tribal community who gave this art to the world. The sound emitted by Chendai is loud and high which could be heard easily up to the distance of more than 3 kilometers. The abdominal skin of cow is used to make Chendai and the skin of Bull or Ox is strictly prohibited in the traditional way of making Chendai. In Kerala and Tamil Nadu, it is used at the time of celebrations and temple festivals. Its sound is still believed to be important on any auspicious ceremony. Chendai has become an integral part of their cultural activities and rituals. Transcending the regional boundaries, the music of Chendai is patronized in various other parts of our country uniting the masses with rhythm and harmony.